Picture Frames at Ham House - Fastly · Picture Frames at Ham House by Jacob Simon Contents Introduction: Picture Framing in London in the 17th Century 3 Ham House in the 1630s: Home

Picture Frames at Ham HouseJacob Simon

Picture Frames at Ham Houseby Jacob Simon

ContentsIntroduction: Picture Framing in London in the 17th Century 3

Ham House in the 1630s: Home of William Murray, Later Earl of Dysart 4

1.1TheGreatHall4 1.2TheGreatStaircase5 1.3TheHallGallery8 1.4TheNorthDrawingRoom9 1.5TheLongGallery9 1.6TheGreenCloset11

Ham House in the 1670s: Home of the Duke and Duchess of Lauderdale 12

2.1TheGreatStaircase12 2.2TheHallGallery16 2.3TheLongGallery17 2.4TheGreenCloset21 2.5TheQueen’sAntechamber22 2.6TheQueen’sBedchamber23 2.7TheQueen’sCloset23 2.8TheDuchess’sPrivateCloset23 2.9TheWhiteCloset26 2.10TheVolury26 2.11TheWithdrawingRoom26 2.12TheMarbleDiningRoom27 2.13TheDuke’sDressingRoom28 2.14TheDuchess’sBedchamber29

Ham House in the 1740s: Home of Lionel Tollemache, 4th Earl of Dysart 29

3.1TheGreatHall29 3.2TheHallGallery31 3.3TheGreenCloset31 3.4TheQueen’sBedchamber32 3.5TheVolury33 3.6TheWithdrawingRoom33 3.7TheMarbleDiningRoom34 3.8TheDuke’sDressingRoom34

Appendix: Cautionary Notes and Technical Terms 35

Further Reading 35

Acknowledgements 36

2 Picture Frames at Ham House

TheextraordinarychangesinpictureframinginLondoninthe1620sand1630s,fromsimpledesigns,oftenpaintedorstainedblack,toarangeofelaboratelycarvedandgiltframescameaboutasaresultofthecollectingactivitiesofKingCharlesIandmembersofhiscourt.Somepicturescollectedabroadcamewithelaborateframes,notablyfromItaly,whilemostwereframedherebycraftsmenwithcloselinkstotheContinent,especiallytheNetherlands,whetherbymigrationormarriageorthroughthetransmissionofideasthroughtheimportofengraveddesigns.ItwastheNetherlandsthatinspiredtheauricularstyle,literally‘oftheear’,ahighlystylisedfree-flowinginterpretationoforganicforms,usuallyanimalormarineinnature,sometimesmarriedwithfoliageandscrollsorvolutes.FramemakersworkinginLondonembracedthisfashionwithenthusiasm,usingitinoneformoranotherforpicturesofalmostallsizesfromthe1630stothe1680s.Theterm,‘auricular’,isamodernone.Inthelater17thcentury,

someartistsandcraftsmencategorisedthepatternas‘leatherwork’,giventheappearanceofsuchframesashavingbeenmadeoutofmaterialthatcouldeasilybecut,bentandrolled,likeananimalskin.Therewereotherlessdemonstrativestylesatthetime,withrepeatingleaforsmall-scalefoliagepatterns,whetherusedinarchitecturalsettings(atHamHouse,thefixedoverdoorframesandsomeoftheovermantelframes)orasindependentpictureframes(atHamHouse,thecushionandbunchedleafpatterns).TounderstandtheframingofthepicturecollectionatHamHouse,thereaderisencouragedtomakethreecircuitsofthehouse,toappreciatethecontributionsofWilliamMurrayinthe1630s,ofhisdaughter,theDuchessofLauderdaleandherhusbandtheDukeinthe1670s,andofhergreat-grandson,the4thEarlofDysartinthe1730sand1740s.Forcautionarynotesconcerningthisguideandfortechnicalterms,seetheAppendixonpage35ofthisguide.

Introduction: Picture framing in London in the 17th century

OppositeSir Anthony van Dyck and Studio, c. 1637King Charles ISeepage9

HamHousewasbuiltin1610forSirThomasVavasour(1560–1620),KnightMarshaltoJamesI.HambecamethehomeofWilliamMurray(c.1600–55)in1626.HewasaclosefriendofKingCharlesI,havingbeenhis‘whippingboy’whenyoung,takingpunishmentonbehalfoftheyoungprince.HeaccompaniedCharles,whenhewasPrinceofWales,toSpainin1623,wheretheSpanishRoyalcollectionexcitedtheyoungprince’sinterestincollecting.Althoughnotaleadingcollector,probablyduetohisfinancialcircumstances,Murrayplayedasignificantpartinthecourtcultureofhistime,givingorexchangingpictureswiththeKing,arrangingpaymentfortheKingtoVanDyckin1637andtakingaleadingpartontheKing’sbehalfinnegotiationswithJacobJordaensforpaintingstodecoratetheQueen’sCabinetatGreenwichin1639.MurraysupportedtheRoyalistcauseintheCivilWar,andwascreatedEarlofDysartforhisloyalty.Hediedin1655.WilliamMurraycameintoHamin1626.Heremodelledtheinteriorbetween1637and1639,creatingtheGreatStaircaseandasuiteofsumptuousstateroomsonthefirstfloor.Heemployedthelittle-knownjoiner,ThomasCarter,forsomeofthefixedcarvinginthehouse,includingtheoverdoorpictureframes,butthecraftsmenresponsibleforthetrophiesandmoreelaborateworkontheGreatStaircase,theambitiousfireplaceintheNorthDrawingRoom(thentheWithdrawingRoom)andthecarvingintheGreenClosetremaintobeidentified.TheinteriorswereplasteredbyJosephKinsmananddecoratedandgildedbyMatthewGoodricke(?1588–1645),bestknownforhisextensiveworkforCharlesIandQueenHenriettaMaria.Goodrickechargedtheveryconsiderablesum

of£320inApril1638forpaintingandgildingworkinvariousroomsatHam.AstotheoverallschemeatHam,therearetwotheories,theonethattheartist,FrancisCleyn(1582–1658),mayhaveadvisedWilliamMurray,giventhatpaintingsattributedtohimremaininthehouse,theotherthatthecraftsmenwhoworkedforInigoJonesandtheOfficeofWorkswereperfectlycapableofcarryingoutworkatHamunderthesupervisionofMurrayhimselfandhisagent.ItisworthnotingthatoneofCarter’sbillswascheckedandinitialledbyanunidentified‘D.C.’insomesortofsupervisorycapacity.

1.1 The Great Hall

Ham’sfrontdoor,dated1610,belongstoSirThomasVavasour’stime.Inside,theGreatHallhasundergoneconsiderablechangesovertheyears.InWilliamMurray’stime,theroomwassingleheightandgavedirectlyontoaterraceoverlookingthegardenatrear,probablythroughthedoorwhichnowleadstotheMarbleDiningRoom.Theceilingwasopenedup,perhapsaround1700andthepanellingaltered(see3.1).ThomasCarterprovidedthechimneypiecefor‘thehall’for£2.10sandin1638MatthewGoodrickechargedfor‘paintinglykegrayMarbletheChimneypeece…andguildingtwomembersoftheCornicethereof’for£1.10s,butneithermentionsafixedpictureframeoverthechimneypiece.Thepresentchimneypieceismadeofblackmarble,meaningthatitisareplacement,aspresumablyistheovermantelframewhichhasbeenreducedinheight,asexaminationofthecornerleavessuggests,andadaptedwithaninsertedinnermoulding.Therewasanunidentifiedpictureabovethechimneyatthetimeofthe1655inventorybut

Ham House in the 1630s: Home of William Murray, later Earl of Dysart

Ham House in the 1630s 5

otherwisetheroomwasnotinitiallyusedforpictures.Theovermantelframeisalmostidenticalindetail,butonagranderscale,totheoverdoorsinthefirst-floorHallGallery(1.3),knowntohavebeencarvedbyThomasCarterin1638.Indeed,sogreatarethesimilaritiesthatoneneedstoaskwhetherthisundocumentedframecouldhavebeenbroughtdownfromtheHallGallery.EithersidearefiguresofMarsandMinerva,perhapsdatingtothe1630s,butexactlywhentheycamehereisuncertain.Forlaterframes,see3.1.Elsewhereonthegroundfloor,therewerefamilyroomsinWilliamMurray’stime,nowcompletelyaltered.Itistheextraordinarysequenceofrichlydecoratedstateroomsonthefirstfloorwhichisthefocushere.FromtheGreatHall,thevisitorprogressedbywayoftheimposingstaircasetotheHallGallery(thentheGreatDiningRoom),followingtheElizabethanandJacobeanpracticeofplacingtheGreatChamberoritsequivalentonthefirstfloor.AsaThames-sidevilla,ratherthanagrandcountryhouse,thesequenceofroomsatHamwascompressed.FromtheHallGallery,thevisitorwithdrewtotheNorthDrawingRoomandcouldthenprogresstotheLongGalleryasaroomofparade,offwhichwastheinnerGreenClosettowhichtheprivilegedmightbeadmitted.Here,thesequenceofstateroomscametoanendatthattime.

1.2 The Great Staircase

Thestaircasewithitsrichlycarvedswagsandmilitarytrophiesisararesurvivingdocumentedschemefrom1638,suppliedinpartbyThomasCarter,andoriginallypaintedin‘walnut-tree’colourandgildedbyMatthewGoodrickefor£64.Itis

nowinalate20th-centuryrecreationofa19th-centuryscheme.TheceilingsarebyJosephKinsman,1637–38.ItwouldseemthatseveralofthecopiesafterItalianpaintingscametoWilliamMurrayinthe1630sbycourtesyoftheKing,whoownedtheoriginalsorhadaccesstocopies.ThecopiesafterpicturesintheSpanishRoyalcollectionmayhavebeenbyMichaelCross,alsoknownasMigueldelaCruz(active1633–60),CharlesI’sleadingcopyisttowhomtwoofthepictureswereattributedin1683,whenallofthepictureslistedbelowwereincludedinaninventory.CrosswasnottheonlycopyistatworkfortheKing.RichardGreenburyandDanielMytenscopiedpicturesinLondon(GreenburyCorreggio’sVenus, Mercury and Cupidin1630/1andMytensTitian’sVenus del Pardo)andCharlesIreportedlyhadanothercopyistworkingforhiminSpainin1635.Asonemountsthestaircase,aratherbewilderingvarietyofimportantandextraordinaryauricularframescomeintoview,revealingarangeofelaboratestylesfromthe1630stothe1670s.Noneofthemarenowgilt,whichsetsthemapartfrommostframesofthistype,althoughafewhavetracesofgessosuggestingthattheymayoncehavebeenpaintedorgilded.Theframesareofoak,generallywithmortise-and-tenonpinebackframes.Astotheirmakers,therewereworkshopscapableofsuchworklikethatofthecarver,ZacharieTaylor,acloseassociateofMatthewGoodricke,butinthepresentstateofknowledgeitisnotpossibletoattributetheoutstandingearlyframesatHamexcepttoseethemastheworkofmorethanoneleadingLondon-basedcarver.ThosepictureswhicharethoughttohavebeenframedforWilliamMurrayarediscussedhereintheorderdisplayed,startingnearthefootofthestaircase.Forthelaterframes,see2.1.

Italian School The Battle of LepantoNT1139664

Aone-offpatternofexceptionallylargedimensionsbutnarrowinwidth,deeplycarvedandundercut,ofpiercedandstainedoak.Itmayhavebeenmadetothiswidthspecificallytofitthespaceonthestaircase.Thereareslightlyuncomfortablecutsinallfoursidesoftheframe,perhapsreflectingitsconstructionorhistory.Whethertheoverlappingfoliageandauricularformsreallysuggestthewavesofthesea,ashasbeenputforward,isamatterofdebate.Notealsothefeatheredwingstowardsthebottomofeachside.Lookingatthestaircaseframesdescribedhere,thisoneandthatonVenus and a Satyr(page8)standapartfromthe‘leatherwork’framesonthenextthreepictures.

After Correggio (original then owned by King Charles I, now in the National Gallery, London)Venus with Mercury and Cupid NT1139671

TheframewasclearlymadeforthepictureandfeaturesMercury’swingedhelmetattopandCupid’sarrowsandquiveratbottom.Itwaspresumablyoncegiltasgessotracesintheintersticeswouldsuggest.Unusuallyforaframeofthistype,thesidesaresymmetricalaboutthehorizontalaxis,andcentreonahighlystylisedmaskwithvacanteyesockets.Theratherflatorganicforms,theinneredgesofwhicharehighlightedbyadefiningline,canbeinterpretedasdriedanimalskins,turningupattheedges.

Attributed to Michael Cross (original then in Spanish Royal Collection, now in Prado, Madrid)Venus and Adonis(afterTitian)NT1139673

Anambitiouspatternwhichwasperhapsoriginallygildedinviewoftracesofgesso.TheornamentaldetailswereperhapsintendedtoreflectthethemeofAdonisthehunter,withanimalmaskstopandbottom,alion’sheadtowardsthetopofeachside,andropetiedcornersaccentuatingthesenseof‘leatherwork’,assuchorganiccarvingwasdescribed.TheuseofmasksandtherepeatednotchedscrollscanbefoundonotherearlyframesatHam(see1.3,1.5).

Attributed to Michael Cross (original then in Spanish Royal Collection, now in National Gallery of Scotland and National Gallery, London)Diana and Actaeon (afterTitian)NT1139669

Aboldelongationofthestandard‘grimacingmask’patternofthe1630sand1640s(see2.3),butwithafantastichornedmaskatbottomcentreandexpandedornamentonthesides,theformsweightyandponderous.Thebottomsideoftheframecanbeviewedasaroughlycutflatskin,curlingandscrollingatitsextremitiesoveritself.

Attributed to Michael Cross (original then owned by King Charles I, now in Louvre, Paris)Venus and a Satyr (The ‘Venus del Pardo’;afterTitian)NT1139666

PerhapsbythesamehandastheframeonThe Battle of Lepantobutagainaone-offpattern,clearlydesignedforthepicture,withacarvedsatyrheadatbottombeneatheachsatyrinthepictureandwingedcherubattopaboveCupidinthepicture.Thebulbousanddeeplyundercutcarvingisleafyandfleshyincharacter.Thecherubandtheanimalmaskatbottom,withribboninmouth,arefeaturesfoundinsomeotherframesontheGreatStaircase.

1.3 The Hall Gallery (then the Great Dining Room)

WilliamMurray’sGreatDiningRoomwasremodelledin1637/8andhungwithtapestries.ThefloorwaslateropeneduptooverlooktheGreatHall.Thedoorsurroundswerepaintedlikepolishedwhitemarble,therichlycarveddoorsinwalnut-treecolourandtheremainingwoodworkblue,withtheenrichmentsandcarvinggilt.TheceilingisagainbyJosephKinsman,1637–38.Theoverdoorframeshavefourrowsofcarving,withaninwardcurvingtopedgeofflatgadroonsanddarts,setabovearoundedfriezeofribbon-tiedbundlesofflatleavesseparatedbythreeflowerheads.Theprofileanddetailingrecallsomelate16th-centuryFlorentinework.TheframesmatchthepatternoftheovermantelframeintheGreatHall(1.1).TheywerecarvedbyThomasCarterfor£2.10s,andgildedbyMatthewGoodrickefor£4,orasheputitinhisbillofApril1638,‘whollyguiltover’,theonlyfeatureintheroomwhichwasnotpartlypaintedbutcompletelygilt.Neithercraftsmanmentionsachimneypiece.Therewerethreelandscapesby‘Decline’in1683,givingrisetotheattributionofthepresentpaintingstoFrancisCleyn,oneoverthethenchimneyandtwooverthedoors,asinthe1679inventory.Naked BoysorPutti with Lions,attributedtoFrancisCleyn,isprobablyoriginaltotheroomwhiletheill-fittingAdamElsheimercopy,Tobias and Angelisalaterintroduction.Forlaterframes,see2.2and3.2.

9Ham House in the 1630s

1.4 The North Drawing Room (then the Withdrawing Room)

Oncemore,thecarvingistheworkofThomasCarter,whiletheceilingisbyJosephKinsman,1637–38.Certaindecorativemotifsarerecurrentinthisroom:nakedboyscanbefoundinboththepaintingsandsculptures,andfriezesoffruit-and-leavesfeatureinKinsman’splastercorniceandalsoinCarter’scarvedoverdoors.Theoriginsoftheelaboratechimneypieceareunknown.Carter’sratherFrench-stylepanellingwasprobablypaintedwhitefromthebeginningandtheroomwasoriginallyfurnishedwithchairsinwhitesatin.Thewallswerehungwithtapestriesofadifferentsettothoseseenin-situtoday.TheoverdoorshaveframescarvedbyCarter,atacostof£4,similarinsectiontotheprecedingroombutmuchricherwithribbon-tiedfriezesoffruit-and-leavesandcornersfinishedwithprominentacanthusleaves.Notethattheoverdoorframetotheleftofthefireplace,aninsertionofthe1670s,hasadifferentrhythmtotheribbonties.Aswiththepreviousroom,thefixedpictureswereattributedto‘Decline’in1683.Therewerealsotwoovalperspectivepiecesingiltframesin1679.

1.5 The Long Gallery

ThepanellingwasremodelledbyThomasCarterin1639,whointroducednewmouldings,20Ionicpilastersandthe‘pedestal’panellingrunningaroundthelowerpartoftheroom,atacostofsome£68.EvidenceastotheearlypicturehangislimitedbuttheroomwouldhavebeenanobviousplaceforWilliamMurraytohangpaintings.Now,itishungthroughoutwithportraitsincarvedandgildedauricularorsimilarframes.Twoframesdatingtothelate1630sarediscussedhere.TheyareofaqualitytohavebeenmadebyleadingLondonframemakersofthetime.Forthenumerouslaterframesfromthe1640sonwards,see2.3.

Sir Anthony van Dyck and Studio King Charles I NT1139944

Veryprobablytheportraitof‘LeRoivestudenoir…avecsamollure’[TheKingdressedinblack…withitsframe],asitwasdescribedbyVanDyckinhisbilltotheKingofabout1638.ItisthoughtthattheportraitwasagiftfromCharlesItoMurray.Therareandoutstandingframe,ifnotchosenbytheartistpresumablymetwithhisapproval.Thescrollsandfoliage,thefantasticmasks,perhapsalionattop,andthetiedtripartitecornerscentringonapomegranate,arefeaturesfoundonotherframesoftheperiodbutrarelytothisexceptionalquality.Notethedelightfuldetailoftheimpressionofropebeneaththeflatoftheframewhichthenemergestoactasatietothebottomcorners,continuingtheconceitofalargelyhiddenroperunningroundtheframefromtoptobottom,holdingtheleatherworkofthefoursidestogether.

(shownonpage2)

After Anthony van Dyck, 1637 Queen Henrietta Maria NT1139955

Theframewithitspairedvolutesatallfourcentresanddensescrollingfoliagerunningtotherope-tiedtriple-budcornersisagoodexampleofaclassic1630sframetype.Itisfoundelsewhereonalargerscale(e.g.twofull-lengthframesatKnole,nowhousingtheVanDyckstudioCountess of DorsetandSirPeterLely’sDuchess of Cleveland).ThisisadistinctiveEnglishframestylewhichisdistantlyindebtedto‘Sansovino’andotherVenetianframes,characterisedbythesculpturaluseoflarge-scalescrollsandvolutes,oftenwithfestoonsoffruit.

1.6 The Green Closet

TheGreenClosetwasalreadyfinishedingreenby1655,whendescribedas‘theclosetwithinthegallerie’.Theunusualogeecornice,resetinplaces,withaflatformalisedleaf-and-anthemionpattern,issodifferenttoothercarvinginthehousethatitispresumablyfromaworkshopotherthanthatofThomasCarter.TheGreenClosetwasprobablyhungwithsmallpicturesfromanearlydate,onthemodelofcabinetroomselsewhere.In1679therewere14pictureswithgiltframes,38inblackebonyandonewitharoundcarvedframe.Some35ofthepicturesandminiaturesnowintheroomcanbeidentifiedasbeingatHamin1683,andmanyofthemmayhavebeenhereeversinceWilliamMurray’stime(seedownloadablecatalogueontheNationalTrustwebsite).Mentionismadehereofalimitednumberofebonyframes,forthelaterlimewoodframes,see2.4,andforthelatergiltpineframes,see3.3.Inthetoprowonthelongwall,alltheworkshaveebonyframesoffinequality,manyofwhichareoriginalorfairlycloseindatetothepictures.Themostelaborate,eithersideofcentre,arethoseonJacquesStella’spaintingsonslate,Salome with the Head of St John the Baptist,dated1637,andVirgin and Child with St John the Baptist and Child Angels,bothwithflatframesinebony-veneeredpine,withripplemouldingsinebonyonthesightandbackedges,ofasortfoundinEuropeformuchofthe17thcentury.Verydenseandblack,ebonywasanexpensivewoodwhichwasimportedfromIndiaandCeylonfromthelate16thcentury.Inthesecondrowonthelongwall,thelittlecopperafterHansRottenhammer,Danaë and the Shower of Gold,relatescloselytoapictureformerlyinCharlesI’scollection.Itishousedinanebonyframemadeupofaseriesofmouldingsandexceptionallytheframesidesareveneeredinebony,lendingthepictureaparticulardistinction.Thefirst-floorcircuitofHamHouseinthe1630swouldhaveendedhere.Untiltheroomsonthesouthfrontwereaddedinthe1670s,Hamwasrelativelysmallinscaleforagrandhouse.

Jacques StellaSalome with the Head of St John the BaptistNT1139900

Ham House in the 1670s: Home of the Duke and Duchess of Lauderdale

HampassedtoMurray’seldestdaughter,ElizabethMurray(1626–98),whensheinheritedasCountessofDysartin1655.Beautiful,learned,ambitiousandgreedy,shemarriedtwiceandhadnumerouschildren.In1648,shemarriedSirLionelTollemache(1624–69),ofHelminghamHallinSuffolk.ItwastotheTollemachefamilythatHampassedafterherdeath.HersecondmarriagewastoJohnMaitland,DukeofLauderdale(1616–82),SecretaryofStateforScotland.Inthedecadebetweentheirmarriagein1672andtheDuke’sdeathin1682,theyextendedandrefurbishedHam,atacostofatleast£10,000,addingasequenceofroomsfacingontothegardenonthesouthside,andrefurnishingthehouseasapalatialvilla,reflectingtheDuke’sstatusasoneofthemostpowerfulministersofKingCharlesII.JohnEvelynin1678describedthehouseas‘furnishdlikeagreatePrinces’.

2.1 The Great Staircase

In1677,intheearliestLauderdaleinventory,therewereninepictureswithcarvedframesontheGreatStaircase,atleasttwoofwhichweregilt.Atsomestage,whetherthenorlater,thedecisionwastakentoavoidgiltframesonthestaircasealtogether,anunusualbuteffectivearrangementwhichmayinsomewaybeinfluencedbythetasteforelaboratecarvingwithoutgildingusedinsomanyWrenCitychurchesandincarvingdoneundertheinfluenceofGrinlingGibbons.Perhapsfourofthestaircaseframeswereintroducedinthe1670saspartoftherefurbishmentsatHam.Theyareratherdifferenttootherpictureframesoftheperiod.Whileeachframehasitsowncharacter,theymayallfourcomefromthesameworkshop.Theyarerecognisablebytheirdarkwoodfinishandsometimesratheropengrain,bytheirelongatedcurvingsweeps,whetheroffoliageorplainerleatherworkscrolls,bytheiruseofwingedcherubheadsoreagles,andbytheirratherfussybutinsistentfestoons.Insomeways,theyhavemoreincommonwiththecarvedworkfoundinWrenchurchesthanwiththegiltauricularframesoftheperiod,suchasfoundintheLongGallery(2.3).Theonlyevidenceastotheirmakercomesfromthepaymentof£10toHeinrickDominick,the‘Germancarver’,asauthorisedbytheDuchessofLauderdaleinJune1673,for‘twogreatcarvedPictureFrames’.WhileherauthorisationmakesnoreferencetoHam,acontemporarybillsubmittedbytheframemaker,JohnNorris,dated29July1673,referstogoingtoHamandputtingthetwogreatpiecesuponstretchingframesatacostof15s(stretchingpictureswasoneofNorris’sspecialities),whileHenryHarlowthejoinercharged35sfortwostrainingframesfortwogreatpiecesonthegreatstairsinMarchthatyear,aswellasforsupplyingtwobackframesandfittingthecarvedframestothemfor25s.ThiswouldsuggestthatatleasttwoofthelargepicturesatHamwerepreparedandframedin1673.Theearlierframeshavealreadybeendescribed(1.2).Laterframesareexaminedhereintheorderdisplayed,fromthefirstnearthefootofthestaircasetotheothersmuchfurtherup.

Dirck van BergenLandscape with an Old Herdsman and Young Market Girl, 1670sNT1139667

Thisframe,presumablytheoriginal,isperhapsintendedtoevoketherichesofthelandandfarminginresponsetothepicture’ssubjectmatter,withfruit-and-flowerfestoonsofgrapesandflowers,intertwinedwithfoliageandscrolls,runningaroundtheframefromthemaskattopcentre,withwingedcherubheadsonthesides,tobeheldbyeaglesatbottomandfinishinginpairedcornucopiaatbottomcentre.Likethepreviousframe,itappearstobemadeofoak,withaheavy,hot-colouredvarnish,perhapsofrelativelyrecentdate.

Copy after Abraham Bloemaert The Angel appearing to the Shepherds NT1139663

Thisisaframeofthe1670s,withwingedcherubheadsonthesidesandatbottom,pickingupontheflyingfiguresinthepaintingitself,withfruit-and-flowerfestoonsrunningthroughthescrollsandsweeps.Thenearestparallelisthecarved-and-giltframenowseenonJohnMichaelWright’spaintingCharles II(NationalPortraitGallery,London),withitswingedcherubheads,similarcornerdetailingandfestoons.

Jacques de Gheyn IIJulius Caesar on Horseback (?fromDeGheyn’svisittoLondonin1622).NT1139674

Quitedifferenttootherframesonthestaircase,thisisacushionframe,astandardmid-centurypattern,laterthanthepicturebutapparentlymadeforit.Carvedfrompine,withstandardlapjoints,itischaracterisedbythehalf-openbudsonatwistingropereversingatclaspedcentres.Thetypeisusuallygilded(thereisanexampleintheVolury,see2.10),buthereitispaintedorochred.Perhapsthisframereflectsthetastefor‘sadlute’colour(darkwarmyellow/orange),afinishusedforpaintedframesinthe1630s.

Attributed to Michael Cross (original then in Spanish Royal collection, now in Prado, Madrid)Venus and Organ Player (afterTitian)NT1139670

(continuedonthefollowingpage)

Probablyaframeofthe1670s,itcanbecomparedwiththatonLandscape with an Old Herdsman and Young Market Girl(page13),inviewoftherathersimilareagles,hereatthesidecentres,andcornucopia-likeforms.Otherfeaturessuchasthepairedvolutesrecallearlierframesand,indeed,thecarvermayhavehadsuchearlierframesinmindifthecommissionspecificallyrelatedtoprovidingframesforadditionalpicturesonthestaircaseatHam.

Adriaen van NieulandtDiana with Nymphs, 1615 NT1139668

Aframeofthe1670s,thetopwithwingedcherub,scrollsandfoliage,thesidesnearlysymmetricalwithexceptionallylongsweepsfromcentretocorner(somewhatlikethepreviousframe),thecornerstied,thebottomwithafantasticmaskheadholdinginitsmouthaclothdrapedtoeachsideinswags.

2.2 The Hall Gallery

Theroomcontinuedtobehungwithtapestriesinthelate17thcentury.Onlyonemovablepicture,theLelydescribedbelow,waslistedhereinthe1679inventory.ItwasnotuntilafterthefloorhadbeenopeneduptoformthepresentHallGallery,perhapsabout1700,thattheroomcametobeusedforpictures.Thefocushereisonthe17th-centuryframesonthedoubleportraitsateitherendoftheroom.Forsomeofthelaterframes,see3.2.CorneliusJohnson’sWilliam Hamilton, 2nd Duke of Hamilton with John Maitland, Earl(later) Duke of Lauderdale,paintedinHollandin1649,presumablydidnotcometoHamuntilafterLauderdalemarriedElizabethDysartin1672.Theoakframeappearstobetheoriginal,madeinEnglandratherthanHolland.Itcanbereadasfourpiecesofleatherwork,tiedtogetheratthecorners,ontowhichareimposedfestoonsrunningfrombelowthewingedcherubattopcentre,behindtheadjoiningvolutes,forwardandthenouttothetriplebud-and-leafcorners,downthesidesinheavyfestoons,runningbehindthefoliageandscrolls,tothecornersandthentotheshieldatbottomcentre.Noteinparticularhowtheswagsseemtoemergefromthesurfaceoftheframeatthebottomclosetothecorners,asiftiedthroughthe‘leatherwork’.Theframe’sperishedsurfacesuggestsregildingoveranunstablesubstrateandraisesthepossibilitythatitsoriginalfinishmayhavebeenratherdifferent,perhapsevenpartlypainted.

Sir Peter LelyJohn Maitland, Duke of Lauderdale and Elizabeth Murray, Countess of Dysart and Duchess of Lauderdale NT1139789

SirPeterLely’sJohn Maitland, Duke of Lauderdale and Elizabeth Murray, Countess of Dysart and Duchess of Lauderdale,paintedc.1675andhunghereby1679hasitsoriginalcarved-and-giltframeofbunchesofleaves,reversingatribbon-tiedcentres,alater17th-centurypatternwhichcanherebelinkedtothealmostcontemporaryarchitecturaldecorationintheQueen’sClosetandtheMarbleDiningRoom(2.7,2.12).Althoughre-gilded,theframeisaparticularlyfineboldlycarvedexample,madeofmitred-and-keyedpine,thewoodusedformostpost-Restorationframes.ThisisaFrenchinspiredpattern,muchusedinpictureframinginthelate17thcentury.Moremodestexamplesofthisframestylecanbefoundinroomsonthegroundfloor(2.9,2.14).

2.3 The Long Gallery

Bythe1670s,theLongGallerywasestablishedasaspaceforhangingpicturesingiltframes,whatHoraceWalpoleacenturylaterdescribedas‘anoldbrowngalleryfullofVandycksandLelys’.TheGalleryasnowdisplayedincludesvariousportraitsfromtheCommonwealthandtheRestorationbutthecollection’sgrowthisnotwelldocumentedexceptbyapaymentin1666toSirPeterLelybythefutureDuchessofLauderdaleof£20foraportraitofhersister,Katherine.Theroomitselfunderwentalterations,withthelossofthe‘twogreatfrontishpeeces’thatThomasCarterhadsuppliedin1639.Thepainteranddecorator,NicholasMoore,undertookextensivegildingworkintheGalleryin1673(andgildedanunidentifiedpictureframeintheroomfor£2).TheLongGalleryisashowcaseforcarved-and-giltauricularframes.Thevarioustypescoexisthappilyandcreatearemarkablespectacle,theirintricateformscatchingtheavailablelight.Thetwoearliestframeshavealreadybeendescribed(1.5).Theotherframesarediscussedhereintwogroups,firstlythestylesbelongingtothe1640s,1650sand1660s,withstraightsightedges,andsecondlytheframesintheso-calledSunderlandstyle,fromthe1660sand1670s,distinguishedbytheirirregularsightedges.Thesepatternscouldbescaledupordownaccordingtothesizeofthepicture.Theyaremostlyofoakwithpinebackframes,somewiththeiroriginalpeggedmortise-and-tenonjointsintact,butfurtherresearchisneededtobeconfidentaboutmaterialsandalsoabouttheprecisestatusofeachframe.ResearchershavesuggestedthatvariousoftheSunderlandframesmaybelaterindate.

Auricular FramesAmongtheearlierauricularpatterns,withstraightsightedges,threedifferingframetypescanbereadilydistinguished,despitethecomplexityofthecarving.

Sir Peter Lely Elizabeth Murray, Countess of Dysart with black servant NT1139940

Theframeislikelytobeoriginaltotheportraitsinceitsunusualsize,widerthanstandard,makesitunlikelythatthisframehasbeenswappedfromanotherpicture.Itisanexampleofastandardframetypecharacterisedbythehighlystylisedlionmaskandpawsatthetop,theframesideslikeaflatskin,theedgesofwhichareirregularandcurlingover.OtherframesofthistypeonLely’sworkcanbefoundontheadjoiningportraitoftheCountess’syoungersister,Lady Margaret Murray, Lady Maynard,c.1670(oakframe;pinebackframewithwell-preservedpeggedjoint),andonthosecalledSir Henry VaneandcalledLionel Tollemache, 3rd Earl of Dysart.

(picturedoverleaf)

AboveSir Peter LelyElizabeth Murray, Countess of Dysart with black servantSeepage17

Unknown ArtistAn Unknown Lady in Red, 1630s NT1139938

Theportraitislikelytoretainitsoriginalframesinceitistoanon-standardnarrowformat.Thisparticularframetypeisrecognisablebythegrimacingmaskattopcentrecrestedbyawavyscroll.Ascaled-downversionistobefoundonCorneliusJohnson’sJohn Maitland, 2nd Earl (later Duke) of Lauderdale,c.1642-3?(laterincorrectlyinscribedasEarlofDysart).

After Sir Peter Lely King Charles II, 1660sNT1139949

Theframeispossiblyearlierthantheportrait.ItistheonlyoneatHaminthesea-monster-and-shellsstandardpatternsometimesfavouredbyLelyinthe1650sandearly1660sbutalsofoundonworksbyotherartists.ItcouldbescaledupordowntosuitthesizeofthepictureasacomparisonwithLely’sEarl and Countess of Essex and Earl of Sandwich(bothNationalPortraitGallery)shows.Thetypeisreadilyidentifiablebythestylisednautilusshellsatthecorners,scallopshellsnearthesidecentresandfantasticmasksofseamonsterattopcentreandwingedmonsteratbottom.

Sunderland FramesSunderlandframes,fashionablefromthe1660suntilthe1680s,areafurtherdevelopmentoftheauricularstyle.Theytaketheirnamefromthe2ndEarlofSunderland,manyofwhosepicturesatAlthorpareframedinthestyle,butthenameisprobablyalate19th-centuryone.Theframesarebewilderinglycomplexinappearance,incorporatinghighlystylisedpatternsofflowingstalks,leavesandscrolls,centredattoponashieldandatbottomonagrotesquemask.InnootherEnglishframetypedoesthesightedgecutintothespaceofthepictureinsuchanirregularway.Inthe1670s,thepaceofworkatHamincreasedwiththeenlargementofthehouse.Oneofthoseactivewastheleadingcarverandgilder,JohnNorris(?1642–1707),whoworkedfortheCrownandmanynotablepatrons.HevisitedHamtostrainpicturesintheGalleryandontheGreatStaircasefortheDuchessofLauderdale,andheprovidedpictures,framesandstretchersformovablepictures.In1673hereceived£30forasetofcopiesafterPolidorodaCaravaggioon18–24April(nowinthe

MarbleDiningRoom,see2.12),£14forpictureframesandstrainingframesetcon4July,£17forpictureframesandworkatHamonorafter9October,and£3.10sforasinglepictureframeon18October.In1675hewaspaid£8on19Julyand£13.10son27Octoberforunspecifiedwork.

Cornelius JohnsonWilliam Hamilton, 2nd Duke of HamiltonNT1139948

SirPeterLely’sDuke of Lauderdale(toleftofCharles II)hasanoakframeattributedtotheleadingcarverandgilder,JohnNorris,whocharged£3.10sin1673foraframeforaportraitoftheDuke.Norrisbilledforfiveotherhalf-lengthcarvedandgildedframesat£3eachsoitislikelythatsomeofthenumerousexamplesintheGalleryarehiswork.Thepatterncouldbescaledupordown,ascanbeseenfromCorneliusJohnson’sWilliam 2nd Duke of Hamilton,paintedinHollandin1649butframedinEngland.

Sir Peter LelySir William ComptonNT1139946

SirPeterLely’sSir William Compton(oppositetheGreenCloset),fromthe1650s,ishousedinan18th-centuryvariationonaSunderlandframe,withrosettesatthetopcorners.IthasalreadybeenpointedoutabovethatseveraloftheSunderlandframesarelikelytobelatercopies.

ThesequenceofnewroomsbuiltbytheLauderdalesinthe1670sbeginsatthefarendoftheLongGallery.Theworkwassupervisedbythegentlemanarchitect,WilliamSamwell(1628–76).TheLondoncarver,JohnBullamore(b.c.1641)undertookmuchofthecarvedwoodwork,andtheDutchpainter,DirckvanBergen(1640–95),previouslyemployedbyKingCharlesII,providedvariousoverdoorpaintings.

Whiletheroomdatestothe1630s(see1.6),someoftheframesandmuchofthefurniturebelongstothetimeofElizabethDysart,includingthesilver-mountedebonytable,whichisdatableto1655–72fromhercoronetandmonogram.WhetherforworksintheGreenCloset,theDuchess’sPrivateCloset(2.8)orelsewhere,WilliamNaylor,‘Ebonyframemaker’,receivedpaymentsfromtheDuchessof£7.1sinMay1675andafurther£1.12sforasingleebonypictureframeinOctoberthesameyear.Attentionisdrawntotwoovalportraitheads,inelaboratelimewoodframes,perhapsdatingtothe1670s(theportraitswereatHamby1683andpossiblyby1679).TheyarebyunknowncarversinthestyleofGrinlingGibbons(suchframeswerebeingdescribedas‘Gibbonsmanner’asearlyas1690).Theframeontheportrait,GerritDou’sHead of an Old Man,wasmadeforthepicturesometimeafteritwaspainted,whereastheratherbetterframeonthecopyofHansHolbein’sDesiderius Erasmuswasapparentlymadeforanotherworkandthenadaptedforthispicture.

After Hans HolbeinDesiderius ErasmusNT1139904

2.5 The Queen’s Antechamber

ThisroombecametheantechambertotheQueen’sBedchamberasplansevolvedinthe1670s.Itisgrainedtoresembleolivewoodorsimilar,andhungwithfadedbluesilk.Whiletherewere13or14movablepicturesintheroomin1679,someingiltframes,othersinebony,theseweremovedelsewhere,leavingthethreefixedlandscapesbyDirckvanBergen,whichwereinstalledbetween1677and1679andremaintothisday,framedinsimplegiltmouldings.MoreelaboratearetherichlycarvedandgiltswagsandfestoonsattributedtoJohnBullamore,completewithducalcoronet,aroundthechimneypainting.

2.6 The Queen’s Bedchamber

Inthe1670s,theQueen’sBedchamberwaspreparedinanticipationofavisitbyCatherineofBraganza.Itwasdesignedastheclimaxofthesequenceofstaterooms,withamagnificentstatebedstandingonaraiseddaisatthefarendoftheroom,setbehindabalustrade.Thisarrangementwasabandonedbythe1740s(see3.4).Theroomhadwinterandsummerfurnishings,includinginsummertheQueenMother’spictureinacarvedandgiltframe,presumablytheVanDyck,Queen Henrietta Maria,nowintheLongGallery(1.5).Alsointheroomin1683werethetwopicturesinframesinthestyleofGrinlingGibbons,nowintheGreenCloset(2.4).ThesimplenatureofthefixedframingisincontrasttotheportraitframesoftheLongGallerybutneverthelesstheribbonmouldingformsaneffectiveframingdevice.TheornamentistheproductofadivisioninlabourbetweenHenryHarlowthejoiner,JohnBullamorethecarverandNicholasMoorethegilder,Harlowprovidingthebasicstructure,BullamoretheornamentalcarvingandMoorethegildingandpaintedwork.LookingattheribbonaroundVanBergen’stwooverdoors(therewereoncethree)andthecopyoverthechimneypieceofAndreadelSarto’sVirgin and Child with St John,wecanidentifythatHarlowchargedfor61½ftofpictureframesat1safoot,Bullamorefor60ftof‘Ribbandaboutyepictureframes’at1safoot,andMooreforgildinginch-widemouldingsat3dafoot.Moreexpensively,theovermantelpaintingissurroundedbycarvedandgiltfestoonsandacoronet,forwhichBullamorecharged£6.10sandMoore£5.10s.

2.7 The Queen’s Closet

Thisinnersanctumsurvivesinmuchitsoriginalformwithrichlyornamentedwoodwork,carvedbyBullamorein1673atacostofsome£35andgildedanddecoratedbyMooreforabout£50.Oneofthemostprominentfeaturesistherunofbunchesofleavesaboutthearchwhichwithadjoiningmouldingscostsome£2.11s,centredonacherubim’sfaceat10s,abovewhichisashieldat£1.Bullamorealsochargedforthefoliagetoeithersideoftheshieldat£4,thelargeraffleleavesoverthefireplaceat18sandfortheribbonmouldingsaroundthepicturesandpanelling,respectivelyat1sand6dperfoot.

Shown:ThealcoveintheQueen’sClosetwithitsgildeddecorationcarvedbyJohnBullamore

2.8 The Duchess’s Private Closet

ThisisthesecondremarkablecabinetroomatHam,butagenerationlaterthantheGreenCloset(1.6).In1679,therewerefourpictureswithcarvedandgiltframes,twosmallinsize,apictureoftheDuchess’smotherinanebonycaseand17otherpicturesinebonyframesofseveralsizes.ManyoftheworksinebonyframeshereintheDuchess’stimeprobablyremainintheroomtothisdaybutitisnotpossibletolinkthemwithconfidencetotheebonyframesthattheDuchessobtainedfromWilliamNaylorin1675.

John HoskinsCatherine Bruce, Mrs William MurrayNT1139682

JohnHoskins’sportraitoftheDuchess’smother,Catherine Bruce, Mrs William Murray,1638,retainsitsoriginalebonycasewithfoldingdoors(theensemblenowhousedwithinalargermodernframe).ThefamilyportraitdrawingsbytheScot,DavidPaton,togetherwithhisoldmastercopies,hereandintheGreenCloset,somedated1668or1669,wereatHamby1683.Theyappeartoretaintheiroriginalorearlyebonyframesofreversesection,probablymadeforthematthetimethedrawingswerecompleted,althoughamoredetailedexaminationoftheframeswouldberequiredtodistinguishwhethersomemaybeoffruitwoodratherthanebonyandwhetherindeedtheyareall17thcenturyindate.

Edmund AshfieldJohn Maitland, 2nd Earl and 1st Duke of Lauderdale NT1140137

EdmundAshfield’ssuperbpastel,John Maitland, 2nd Earl and 1st Duke of Lauderdale,1675,hasaremarkablecarvedandgildedframe,apparentlyofoak,perhapsthefinestonanyEnglishpasteloftheperiodandsurelyspeciallycommissionedbytheDukeorhiswifefromaleadingcraftsman.Tounderstandthelanguageoftheframe,itisnecessarytoreadtheunusuallyshapedcornersasleatherwork,asitwascalled,overlaidbyfoliageheldbytheeagleinitsclawsand,ornamentedwithacorns,flowersandberries,runningoutbehindthecorners,downthesidesoftheframetomeetinafloweratbottomcentre.

(picturedopposite)

AboveEdmund AshfieldJohn Maitland, 2nd Earl and 1st Duke of LauderdaleSeepage24

2.9 The White Closet

By1679therewerefivepicturesinebonyframesheretogetherwithanoldman’sheadinagiltframe,perhapsBenedettoGennari’sHead of St Paul,c.1675,whichretainsitslap-jointedbunchedleafframe,withoriginalpalegilding.Buttheframebreaksconvention,sincetheleavespointupwards(incontrasttothemoreusualarrangementinthefixedcarvingintheMarbleDiningRoom,2.12).

Benedetto Gennari Head of Saint PaulNT1140136

2.10 The Volury

Atapestryhungbedroominthemid-17thcentury,theroombecametheVolury,orwhatNorristheframemakerin1673describedas‘theBirdeCageRoome’.Indeed,HenryHarlowchargedaconsiderablesumof£56forfourexteriorbirdcages,suggestingquitesubstantialorelaborateconstructions.TheEnglishschoolportrait,John Maitland, 1st Earl of Lauderdale,whetherpaintedc.1640orslightlylater,probablydidnotcometoHamuntilthe1670sorlater.Itsmid-centurycarvedandgiltcushionframeinpineisofatypewehavemetwithontheGreatStaircase(2.1).

2.11 The Withdrawing Room

ThomasWyck’sAn Alchemist,c.1674,achoicesmallpanelpaintingonchamferedoak,hasacarvedandgiltreverse-sectionlap-jointedpineframeofaveryfineleafpattern(muchmorefinelycarvedthantheraffleleavesornamentingtheoverdoorframesinthenextroom).ThomasWyckandhisson,Jan,alsosuppliedovermantelandoverdoorpicturesforHaminthe1670s.An AlchemistisoneofthepictureswhichJanWyckvaluedfortheDuchessofLauderdaleinthe1680sanditstillbearshisnumber,46,onasquareofpaperonthereverse,andhisvaluation,A Chymists Shop. G… Wick £8: pret: [=price].Forthe18th-centuryframes,see3.6.

Thomas WyckAn AlchemistNT1140060

2.12 The Marble Dining Room

JohnBullamore’sbillforcarvinginwhathecalledthe‘greatparlor’,dated23April1673,providesanilluminatinginsightintocontemporaryterminologyandthecostofcarving.Heworkedinoakwhichwasleftunpainted.Hechargedfor127ft9insof‘bunchesofleaves’aroundthedoors(ofwhichtherearesixincludingthealcoves).Notehowthebuncheshangonropeswiththeirleavespointingdownwards,aswasusual.Bullamorealsochargedfor6ft9insof‘greatRafleleaves’asafriezeoverthechimneypiece.Raffleleafframesofreverseorbolectionsectionwereoneofthestandardframingdevicesoftheperiod,asweshallseeagainintheDuchess’sBedchamber.Thechimneypictureitselfwasframedinleavesandguillocheat1s.8dperfoot,totalling£1.8s.10d(larger-scaleguillochemouldings,intheformofacontinuousbandoftwointerwovenspirals,formingaseriesofcircles,werelateraddedatthesideswhentheoriginalpicturewasreplacedbyThe Presentation of a Pineapple to King Charles II,acopymadebyThomasStewartin1787).Theoverdoorframesareonaslightlysmallerscale,hencethereducedcostof1s.4dperfoot,totalling£3.18s.5dfor58ft10insofleavesandguilloche.Fouroftheoverdoors,copiesfrompaintingsbyPolidorodaCaravaggioinKingCharlesI’scollection,canprobablybeidentifiedwiththe‘6PeecesafterPolydore’,boughtfromthecarver,JohnNorris,on18April1673for£30(theothertwocanbefoundinthepreviousroom).

Thomas StewartThe Presentation of a Pineapple to King Charles II (afterHenryDanckerts)NT1139824

2.13 The Duke’s Dressing Room

Asfinishedin1679,theroomwashungwithcrimsondamaskandincludedHenryDanckerts’soverdoors,River Landscape with Classical Ruins and a Castleand,The Gardens at Pratolino,1673,aswellasJanWyck’sA Battlepieceoverthefireplace,allthreestillinposition.Theroomalsocontainedsevenpictureswithcarved-and-gildedframes,nolongerhere.Now,itishungwithtwopicturesinblack-and-giltframesofthe1630s,describedbelow,andothersinframesofthe1730s(see3.6).ThedelightfulearlyblackframesdecoratedwithappliedgiltcarvingontwopicturesprobablyformedpartofthecollectionofWilliamMurray.FrancescoBassanotheyounger’sOrpheus Charming the Animals,andBartolomeusBreenbergh’sClassical Ruins with Christ and the Woman of Samaria,1635,werebothapparentlyhangingintheAntechambertotheQueen’sBedchamberin1683.Whiletheseframesareunique,theirdesignandornamentwouldsuggestthattheydatetothe1630s.TheBassanoischaracterisedbytheshieldsandscrollsattop,fromwhichrunfestoonsoffruit,acornsandfoliage,hangingonribbonswithruchedribbontiesandbows,meetingatabowloffruitatbottom,theedgeoftheblackframewaved.TheBreenberghhastiedpairedvolutesatthecentres,acommonfeatureinthe1630s,andonasmallscaleatthecorners,withtrailingvinesandgrapes(thereisnoobviousreasonforthechoiceofornament).Theirflatblacksurfaceshavebeenrepainted,inthecaseoftheBassanocomparativelyrecently,withnotraceofgildingbeneath.Forthelaterframes,see3.6.

Bartolomeus BreenberghClassical Ruins with Christ and the Woman of SamariaNT1139802

2.14 The Duchess’s Bedchamber

Anurseryinthemid-17thcentury,theroomthenbecameapanelledbedroom,grainedtoresemblewalnutwithgiltdetailing.Themostprominentcarvingintheroomistherunof‘greatrafleleaves’framingthealcove,providedbyJohnBullamoreat1s.8dafootin1673,whilethesimpleoverdoormouldingsweresuppliedbyHenryHarlow.Itseemsthatby1677theDuchesshaddecidedtoswapbedroomswiththeDuke,hencetheoddarrangementbywhichherbedchamberissandwichedbetweentheDuke’sdressing-roomandhiscloset.WillemvandeVelde’sfouroverdoorSea-pieces,dated1673,hadbeenpaintedfortheroomwhenitwasintendedfortheDuke’suse.Theseshekept,addingherhusband’spictureoverthechimney,perhapsEdmundAshfield’scrayonportrait(see2.8),togetherwithafewotherpicturesingiltframes.Now,itisherownportrait,anearlyworkbySirPeterLely,perhapsdatingtothelate1640swhenshewouldhavebeeninherearlytwenties,thathangsoverthefireplace,inacarved-and-giltbunchedleafframe(forthistype,see2.9,2.12).Theframeisratherlaterindatethantheportrait.

Ham House in the 1740s: Home of Lionel Tollemache, 4th Earl of DysartThe18thcenturyistreatedheremoresimply.FollowingtheDuchess’sdeathin1698,thehousepassedtoherson,LionelTollemache,3rdEarlofDysart(1649–1727).Hisgrandson,anotherLionelTollemache,4thEarl(1708–70),inheritedHamin1727andonhisreturnfromtheGrandTourin1729,herepairedthefabricofthehouseandsetaboutrefurnishingtheinteriorsinaconservativemanner,remodellingtheQueen’sBedchamber,theVoluryandtheMarbleDiningRoom.Headdedtoandrestoredthepicturecollection,especiallyinthe1730sand1740s,reframingsomeoftheoldmasters.Paymentsbythe4thEarlforframescannotalwaysbelinkedwithconfidencetoHam,letalonetoindividualpictures.PaulPetit,knownforhiscontemporaryworkforFrederickPrinceofWales,waspaidforsevengiltpictureframesandvariousblackprintframes,1732–5,includingexceptionallyalargetabernacleframefor£4.14sin1734.JohnHele,alesserfigure,undertookmanyrepairsatHamandHelmingham,1736–45,andsuppliednineortennewpictureframes,aswellassomeprintframeswithgiltsight-edgemouldings.AlsoworkingforLordDysartwereJohnGreenandJamesDryhurstasframemakers,WilliamBradshawandGeorgeNixascabinetmakers,andJohnArnoldasapicturerestorerandoccasionalsupplierofpeartreeframes.Inthe1750sand1760s,WilliamWattsprovidedfurtherframes,mainlyforprints.

3.1 The Great Hall

IntheGreatHall,theceilingwasopenedupsometimearound1700andthepanellingrenewed.Perhapsdatingtothiscampaignarethethreeblindoverdoorframes,withoutpictures,ofreversesectionwithanarrowinnerhuskmoulding,arunningleaf-and-scrollfriezeandanoutertriple-bead-and-reel,withvariationsbetweenframes.

JohnVanderbank’sfull-lengthstateportrait,Lady Grace Carteret, Countess of Dysart,dated1737,retainswhatmaybeitsoriginalshowycarved-and-giltKentframe,denselyornamented,withoutsetcorners,sidescrollsandfestoonsandcrowningfemalemasksetbetweenlarge-scalescrollingfoliage.Theadjacentpairedportraitofherhusband,Lionel, 4th Earl of Dysart,hasbeenreframedinamuchsimplerlaterMarattaframe.Onthewindowwall,GodfreyKneller’sHenrietta Cavendish, Lady Huntingtower,c.1715,isalsohousedinaKentframebutofmuchplainerstyleandpresumablyareframingofthe1730s.WhatwecallaKentframe,namedafterthearchitect,WilliamKent,wasoftenknownatthetimeasatabernacleframe(thistermisusedinbillstoLordDysartinthe1730sfromJohnGreen,JohnHeleandPaulPetit).Thelaterframesinthisroomfalloutsidethescopeofthisguide.

John Vanderbank Lady Grace Carteret, Countess of DysartNT1139647(picturedopposite)

3.2 The Hall Gallery

UpstairsintheHallGallery,someportraitshavemoreordinarycarved-and-giltKentframes,presumablydatingtothe1730sor1740s,includingGodfreyKneller’sGeneral Thomas TollemacheandtheadjacentLady Grace Carteret, Countess of Dysartwithachildandservant,amatchingframebutoflesserqualityandwithsidefestoonsmisfittedtofacesideon.Onthewindowwall,theanonymousWilbraham Tollemache, 6th Earl of Dysart as a Boy,c.1750,hasanunusualrococoframewithdoublesweepsbetweenthecentresandcorners.

IntheGreenCloset,thereareseveralpictureswithrichlycarved18th-centuryframes.Ontheendwallattop,theunusedfanpaintingwithastoryfromRinaldoandArmidahasaveryfineKentframe(picturedoverleaf),whilethepairofgouaches,below,attributedtoJosephGoupy,tellingthestoryofGermanicusfromRomanhistory,haverichlycarvedstraightsidedcentre-and-cornerframes.Bothframestylescoexistedinthe1730s.Theremaybealinktoapaymentof£8.8stoJohnHelein1737for‘TwoneatframesCarvdandGiltinBurnishGouldwithSandframesandGlases’.Onthefireplacewall,thecopyofDanielMytens’James Iwaspresumablyreframedwhenitwasrelinedin1736.Almostidenticalproto-rocococentre-and-cornerframesinpinecanbefoundontwoadjacentportraits,richlycarved,withleafsightedge,sandedfrieze,leafcornersrunningintoC-scrolls,foliageandflowers,bossesatthecentres,andshortgadroonedsweepsonthetopedge.

UnknownThe Embarkation of Carlo and Ubuldo with Rinaldo Deserting ArmidaNT1140147

3.4 The Queen’s Bedchamber

TheQueen’sBedchamberwasconvertedintoadrawingroombythe4thEarl.Whilethestructureoftheroomremainedintact,hecommissionedtheWatteautapestriesandmuchofthepresentfurniturefromWilliamBradshaw,aleadingcabinetmakerandupholstererwhoownedhisowntapestryworksinSohoSquare.Thetapestrybordersarenotunlikecontemporarypictureframesinsomedetails.InJune1743,Bradshawsuppliedthesplendidpairofpierglassandconsoletables,specifying‘2RichcarvedandgiltovalGlasses’at£28.10sthepair.Theglassframes,withtheircrestingfeathers,fruitfestoons,curvingbrackets,oakleafcushionmouldingandshellbases,areunlikecontemporarypictureframesbutrespecttheroom’searlierdecoration.Shown:detailofpartoftheovalpierglassinQueen’sBedchamber.ThepierglassisoneofapairbyWilliamBradshawc.1743,withcarvedandgildedframes.

3.5 The Volury

TheVolurywastransformedbythe4thEarlfromabedroomintoadrawingroom,probablyinthe1740s,installingsecond-handtapestriesandcommissioningpierglasses.TheworkmayhavebeencarriedoutbyWilliamBradshawbutisnotdocumented.

3.6 The Withdrawing Room

IntheWithdrawingRoom,therearevariousoldmasterpaintingsinfinecentre-and-cornerframesbyunidentifiedLondonframemakers,probablysuppliedwhenthepictureswererelinedinthelate1730s.TheboldlycarvedframeintheFrenchtastewithprominentdoubleleafcornersandleafcentres,hollowsides,sandedfriezeandgadroonedsightedgeontheAn Unknown Young Mancanbecomparedwiththemorestandardcentre-and-cornerframeonAbrahamBloemaert’sBaptism of Christ.Thelittlelandscape,Hagar and Ishmael(abovetable),acopyafterMola,waspossiblyacquiredin1748,perhapsinitspresentearly18th-centurygadroonedframe.

Abraham BloemaertThe Baptism of ChristNT1140058

3.7 The Marble Dining Room

IntheMarbleDiningRoom,thepierglassesare18th-centuryintroductions.Butfortheiropenscrollpedimentsandcresting,theyaresimilarinformtocontemporaryKentpictureframes.LordDysart’sapproachtothisroomwasconservative,respectingtheearliercarvingbutreplacingtheleatherwallcoveringsin1756andapparentlylayingthemarquetryflooratthesametime.However,thepierglassesareratherearlier.Theyhavebeenassociatedbothwiththecabinetmaker,GeorgeNix,whochargedfortwopierglassesat£12in1729,andwithWilliamBradshawwhosuppliedapairoflargeglassesfor£17.17sin1737,inbothcasesforunspecifiedlocations.WhatwedoknowisthatBradshawwascertainlyatworkintheroomin1737,whenhechargedforalteringcurtains.

Shown:Giltwoodpierglass,oneofapair,intheMarbleDiningRoom

3.8 The Duke’s Dressing Room

IntheDuke’sDressingRoom,therearefurtherworksinparticularlyfinecarved-and-giltcentre-and-cornerframesofthe1730s.Severalofthepictureswererelinedin1736andprobablyreframedatthesametime,includingJacobdeWet’sThe Hosts of Pharaoh engulfed by the Red SeaandtheBassanoIsraelites gathering Manna andDaniel in the Lion’s Den.

Franceso BassanoThe Israelites gathering MannaNT1139800

Appendix: cautionary notes and technical terms

Bythemid-17thcentury,thereweretwostandardportraitsizes,ahead-and-shouldersformatat762x635mm(30x25in)andthehalf-lengthat1270x1016mm(50x40in),makingitrelativelyeasytoswapframesfromoneportraittoanother.Ontheotherhand,pictureswhicharenotinoneofthesestandardformatsaremorelikelytohaveretainedtheiroriginalframes.Pictureshavebeenmovedfromonefamilyhometoanother,meaningthatthecollectionhaschangedconsiderably.In1672,108pictures,63ofthemdescribedasgreatpicturesandothersaslesserorlittle,allbutfouringiltframes,weretakentoScotlandfromHamandLauderdaleHouseinHighgate.Inabout1679sixgiltframesfromthewardrobestoreatHamweregivenaway.Itcanbedifficulttolinkreferencesin17th-centurybillsandHaminventoriestoindividualpictureswithconfidence.Nevertheless,aninventoryof1683isakeydocumentinestablishingthehangofthecollectionafterthemanychangesofthe1670s.Manyframeshavebeenregildedandothersaltered.Ithasnotbeenpossibletoexaminethereverseofframesinworkshopconditions,necessaryforafullyinformedjudgement.

back edge:theouteredgeoftheframe,furthestfromthepicture.gadroons/gadrooning:aseriesofconvexshapedridgesinarepeateddecorativepattern.lap joint:acornerjointwiththewoodofonesideoverlappingtheadjoiningside.mortise-and-tenon:ajointwhereatenonortongueofonetimberisfixedthroughamatchingshapedmortiseorholeinanothertimber.mitre joint:adiagonaljointusedinthecornerofframeswiththeadjacentsidesabutting.reverse section:aframewiththemostprominentmouldingnearesttothepicture.sight edge:theinneredgeoftheframenearesttothepicture.volute:aspiralscroll.

Picture Frames at Ham House - Fastly · Picture Frames at Ham House by Jacob Simon Contents Introduction: Picture Framing in London in the 17th Century 3 Ham House in the 1630s: Home

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